"There is yet another group of young artists who do not consider it necessary that their work should exist in any concrete form. The idea is all-important, and may remain an idea, or be executed, according to the desire of the artist — or the buyer." – Rosalind Constable, "The New Art: Big Ideas for Sale," New York, March 10, 1969. This article has everything, including photographs of driveway and lawn art by Lawrence Weiner; collector Robert Scull, sans socks, posing next to Michael Heizer's Nevada Depression; dealer John Gibson staring down the camera in a natty outfit, a 26-year-old Seth Siegelaub, a 280-feet-fall sculpture by Christo (its price in 1969: $187,000), and more. [Google Books]

"But Aaron and Barbara Levine, veteran collectors from Washington, D.C., were looking for rarefied work that was maybe more important than the showstoppers. And, as it happens, barely even there. ... [W]hen you buy a Weiner you don’t acquire the lettering itself, let alone the 3-D work it implies. You buy Weiner’s immaterial idea, as a certificate that lets you write his phrase in a room, or come up with the sculpture you think it describes." – Blake Gopnik, "Buying Art You Can't Take Home," Newsweek, June 27, 2011. [Newsweek]

Lost Art of New York: "A year later, perhaps unsatisfied, Bollinger rented a loft overlooking the Hudson River in the Starrett-Lehigh Building to mount a huge exhibition that financially ruined him and ended his working relationship with Klaus Kertess and others." [Frieze]

Les Blank's Werner Herzog Eats His Shoe (1979) is screening at the Museum of Modern Art on Wednesday, July 6, at 7 pm. [MoMA]

Also at MoMA: Robert Rauschenberg's sprawling 1970 Currents piece. Greg Allen takes a close look. [Greg.org]

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